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On the Shelf
We Did OK, Kid
By Anthony HopkinsS&S/Summit Books: 368 pages, $35
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“I know how to scare people.”
The voice on the phone belongs to a “tough old goat,” who turns out to actually be self-effacing and charming, someone who appreciates vulnerability, and writes and talks about being openhearted and about manifesting one’s own future. He’s the kind of person who says every day is “the youngest you’ll ever be.” Still when Anthony Hopkins talks about scaring people, you know he knows what he’s talking about.
We’re chatting about his new memoir, “We Did OK, Kid,” and he’s recounting his first meeting with Jonathan Demme, when Hopkins explained why he should play Hannibal Lecter in “The Silence of the Lambs.” As he does in the book, the legendary actor dissects how he approached the role, adding a digression about Joseph Stalin being scariest when he went quiet. Hopkins told Demme, “the quietness is the most terrifying part — it goes back to childhood, going to a room, turning on a light, there’s a big spider on the wall, quiet, waiting.”
Hopkins, who turns 88 on New Year’s Eve, then briefly slides into the voice that freaked out so many people, needing just a couple of phrases to demonstrate his point, saying “good morning” — the way he first greeted Clarice Starling — and then sneering the line about Clarice escaping her life “all the way to the F … B … I.”
It’s a thrill, of course, but really it’s the rest of the conversation that’s revelatory, especially the intellect that belies his modesty (in our conversation he references Alexander Solzhenitsyn, Edgar Allen Poe and Jean-Paul Sartre) as well as his candor, warmth and attitude toward the life he has lived.
Hopkins stayed on the phone way past my allotted time, and while I’d been told in advance not to ask about the Palisades fire that destroyed his home and belongings, he brought it up himself several times where it was relevant, including when I asked why Kenneth Branagh narrated the audiobook — while Hopkins was grateful at how relatively fortunate he was and acted “stoic” after losing his home, he still felt overwhelmed. “It felt like such a task then,” he says. But the book includes an appendix of poems he cherishes by the likes of W.H. Auden, W.B. Yeats and T.S. Eliot, and Hopkins will read some of those for the audio release.
Rising from a working-class life in a small town in Wales to international fame wasn’t easy, but Hopkins says he became the author of his own success through luck and sheer determination, willing his career into existence, in part by speaking his dreams aloud. “There’s some strange magnetic force that’s in us — you can talk about God or whatever you want to call it — but I think it’s a metaphysical process that’s in us.”
The book is filled with stories about working with and learning from the likes of Laurence Olivier and Peter O’Toole, who gave him his first break in “The Lion in Winter.” With such a long and illustrious career, Hopkins has no false modesty — when I ask what role was hardest to access, he says, “Well, I’m going to sound very conceited now. I didn’t find anything difficult to play” — but he undersells the thoughtful rigor in his approach.
In the book he emphasizes that the readiness is all, learning his lines backward and forward before the first rehearsal. “As I’m learning the words I’m building an image of the person in my mind and my voice begins to change,” he told me. “It gives you the freedom to relax and have some fun with your lines.” (He adds playfully that he also “gets a great kick out of shocking everyone” by having an entire script memorized on day one.)
While he abhors actors who think “mumbling is interesting,” he doesn’t overwhelm younger actors who ask for advice with too much detail. “Show up and be bold,” he tells them.
Beyond that, Hopkins prefers to avoid “an introspective analysis.” At one point he says, “If somebody came from outer space and asked what does being an actor mean, I’d just say, ‘I become other people.’ How have I done it? I have no idea. I found it easy.”
Yet the next day he called again to ask if he could text me further thoughts, which was a detailed interpretation of his King Lear in the acclaimed 2018 TV film. “I wanted to remove the lyric-poetic and theatrical version of the old man to a brutalist version of human existence,” he began, later drawing comparisons to Hamlet and breaking down Lear’s “O, you are men of stones” quote. Subsequent texts ventured into the idea of playing Iago in “Othello” now, as an old man who has been passive until “suddenly, the monster awakens,” like a “bland and harmless” veteran he knew years ago who snapped.
Clearly, he does more than just “become other people.”
A 3-year-old Anthony Hopkins together with his dad. Within the guide, Hopkins is frank about his father’s alcoholism and despair.
(Summit Books)
First, after all, he needed to turn into himself. Hopkins writes about being a poor pupil. He was bullied or belittled by different youngsters, academics (who have been typically fast to hit again then) and even household. “I wasn’t very bright in school,” he says. Being thought-about dumb lodged itself in his psyche whereas his “instinct for self-survival” taught him to “blank them out and take all the punishment and never respond, which drove them nuts.”
The guide presents a sympathetic portrait of his dad and mom regardless that he’s frank about his dad and mom not understanding find out how to totally love or information their dreamy baby and about his father’s alcoholism and despair.
He says whereas his “dumb insolence” method protected him and the “energy of anger” he saved up drove him to show himself and should have helped him perceive find out how to scare individuals on display screen, it additionally was a harmful method to residing, leaving him feeling in limbo, disconnected from his personal life.
“It gave rise to a paranoia because I thought the only way to avoid getting hurt is to avoid it all,” he says. “I kept playing the game of the dopey little boy, protecting myself with my own stupidity. But I did grow sick and tired of it and eventually had to say to myself, ‘Stop playing this game.’”
He couldn’t totally join or cease taking part in the sport till he confronted his alcoholism (and despair) and stopped consuming, a wrestle he writes about frankly within the guide.
“I was a lone drinker and could seal myself up from people,” he says now, including that he’s fortunate he didn’t find yourself in jail at sure factors for driving blackout drunk. He avoids being preachy within the guide. He tells me, “I loved to booze, it was just that I knew it was going to kill me.”
After lastly getting assist, he freed himself of “the compulsion to destroy myself. But I still had the demons, the anger, the feeling on edge and never feeling secure.”
He tries to not wallow in remorse however does really feel regret concerning the individuals he harm together with his “cruel” habits throughout his consuming years. “Looking back at that is sickening,” he says, including that he has apologized the place he may.
He credit his spouse, Stella Arroyave, whom he married in 2003, with finishing his transformation and persuading him to simply accept his personal limitations. “She said, ‘Stop taking it all so seriously — it’s vanity and narcissism because nobody’s that interested in what you’re doing or thinking,’” he remembers. “And she’s right.”
Surrounded by his spouse and nieces, he says he has discovered from their prepared vulnerability. Now he views the world and the individuals round him with “much more compassion and understanding. I have no more time for rancor and bitterness — they’re like a cancer.”
Hopkins is conscious about his personal mortality however feels fortunate to be alive and at peace together with his life as he lived it. He additionally retains plowing forward, with three movie tasks coming within the subsequent 4 months. “Onward,” he says. “I find great glee in showing up on set and having a go at it. Let’s make it a better world now. Be happy and have a bit of fun. Because we’re going to be dead for a long time.”
